This sometimes laughable "jukebox" musical is a testament to the unmitigated cheeziness — that's "cheeziness" as in Cheez Whiz, not Rouge et Noir Triple Crème brie — of '80s hair-metal songs. The lyrics — contrived to be chanted in stadiums, accompanied by the pumping of fists — were easily woven into the paper-thin story in "Rock of Ages," the movie adaptation of the Broadway musical still at the Helen Hayes Theater.

Virginal Sherrie (Julianne Hough) leaves Smalltown, USA, for Los Angeles, à la Esther Blodgett. When fellow riders on her bus begin singing Night Ranger's "Sister Christian," you can't believe your eyes or ears. This is what the movie musical has come to? Is the dust of Busby Berkeley and Ruby Keeler and Fred Astaire converging into a cyclone?

But you can't 100-percent hate "Rock of Ages." You have to admire Tom Cruise, who channels Axl Rose as Stacee Jaxx, a tattooed rock god stumbling through a haze of groupies and booze. Question: Did Jann Wenner sign off on this use of the Rolling Stone brand? Malin Akerman plays an RS reporter interviewing Cruise's Jaxx who winds up, shall we say, getting an exclusive. During their dressing-room gymnastics, Cruise and Akerman duet Foreigner's "I Wanna Know What Love Is"; kudos to Akerman for singing with her tongue in Cruise's ear.

Alec Baldwin, in a dollar-store wig, plays the proprietor of the Bourbon Room, a Sunset Strip dive modeled on the Whisky a Go Go, and Russell Brand plays his rooster-haired gofer. These two smart, funny guys do their best to maintain their comic cred while servicing the cliché-ridden story, a slippery slope. The men prevail, however, once their characters admit a mutual attraction as they duet REO's "I Can't Fight This Feeling." The montage shot of Baldwin and Brand on a merry-go-round is a treasure.

Catherine Zeta-Jones as a politico's wife on a mission to shut down the Bourbon — shades of Tipper Gore — is likewise game.

But ultimately, "Rock of Ages" is, like the dubious musical movement that inspired it, empty calories.

Extras include a making-of doc and Def Leppard's performance at the premiere.

It is small moments that endear you to "Madagascar 3." Such as when an Italian cop's face-cast cracks open, revealing mascara tears. And when Stefano the sea lion assesses his own intelligence with candor. And, of course, Marty's "circus afro" dance.

But then a horrendous, unrelenting slapstick chase will come along and foul up the whole business.

Adam Sandler comedies idle at reprehensible, but the inclusion of incest and pedophilia jokes in "That's My Boy" represents a new low for the "SNL" alum, whose time as a box-office draw seems to be (thankfully) waning.

For his premise, Sandler uses real-life cases such as that of Mary Kay Fualaau, a former teacher convicted of having sexual relations with a 13-year-old student — well, she had two of his babies and later married him. Sandler gets his '80s on — no surprise here — as Donny Berger, whose extracurricular activities made him a celebrity in the era of Sally Jessy Raphael and Def Leppard, but is now a destitute, beer-guzzling has-been in need of 43 grand to fend off the IRS. Donny must turn to Han Solo (Andy Samberg, of the next SNL generation), the estranged son he had with his teacher. But Han has changed his identity, and his fiancée (Leighton Meester) thinks his dad is dead.

Sandler has been known to coax celebrities into playing themselves in his films (Al Pacino, Bob Barker, John McEnroe). In "That's My Boy," he lands Vanilla Ice. It's not as bad as it sounds. Ice wears an '80s-style faux-urban getup; works as a fry cook at a skating rink; and his boss is Todd Bridges (also playing himself), who calls Ice a "fake rapper."

Extras include bloopers.

A League of Their Own$19.99 (Blu-ray), Sony

Penny Marshall's 1992 valentine to a WWII-era women's baseball league tends to be sappy and, 20 years hence, old-fashioned in its storytelling style.

Geena Davis is cute — you can't say much more — as the league's star player. Tom Hanks squeezes out a few laughs as an alcoholic ex-baseball star sentenced to the unpopular duty of coaching a bunch of "dames."

Madonna plays to her strengths as the team floozy. Rosie O'Donnell plays the team sad sack.

The period look is authentic enough, but the score — heavy on '40s-style swing as heard through the prism of the early '90s — wears out its welcome.

Extras include cast and crew interviews likely recycled from an earlier DVD release.